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The D7 X2 Delay Pedal by Mooer.

This pedal features more than double the effects of its skinnier brother the D7 Delay.
While also adding Stereo inputs and outputs.
The array of delay effects in the D7 X2 have a wide range from classic analog and tape delays to more modern and experimental delays such as “Low-Bit”, “Galaxy”, and “PingPong”.
Adjustable parameters are different based on each effect and can be customized with the Tweak 1 and Tweak 2 knobs.
Additional parameters can be adjusted by using the MIX, TIME, and FEEDBACK knobs.
Timing of each delay can be adjusted with the TIME knob or by using the TAP TEMPO footswitch for quick adjustments on the fly.

Specs:

• Multi-Delay
• 14 Selectable delay modes
• Bypass with trails (switchable) allows the effect to decay naturally
• Tap Tempo for easy and intuitive control of delay time
• Storable preset for each effect mode
• Controls for Tweak.1, Tweak.2, Mix, Time, F.B (Feedback)
• Save button
• Tap Tempo and Bypass footswitch
• Status LEDs
• 2x 6.3 mm Mono jack input / output (true stereo)
• Power supply via 9 V DC mains adapter
• Mains adapter connection: Barrel connector 5.5 x 2.1 mm, negative polarity inside
• Power consumption: 300 mA
• Metal housing
• Dimensions (L x W x H): 115 x 75 x 33 mm
• Weight: 334 g
• Includes power supply unit

The E3 MBK Electric Guitar by Flight.

The E3 MBK is a Budget Stratocaster , with a Rosewood Fredboard , a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is a Budget Stratocaster , with a Rosewood Fredboard , a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S
• Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is a Budget Stratocaster , with a Rosewood Freboard and a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is a Budget Stratocaster , with a Rosewood Fredboard , a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is an Budget Electricguitar , with a Rosewood Freboard and a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is a Budget Stratocaster , with a Rosewood Freboard and a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is an Budget Electricguitar , with a Rosewood Freboard and a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil • Bridge Pickup: Humbucker • Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is an Budget Electricguitar , with a Rosewood Freboard and a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil
• Bridge Pickup: Humbucker
• Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

Specs:

• Neck - Maple • Fingerboard - Rosewood • 24 Frets • Hardware - Chrome • Pickups - H+S • Tremolo Type • Switch - 3 Positions • Potentiometers - 1x Volume, 1x Tone • Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

The E3 MBK is an Budget Electricguitar , with a Rosewood Freboard and a Single Coil in the Neck and Humbucker in the Bridge.

Specs:

• Neck - Maple
• Fingerboard - Rosewood
• 24 Frets
• Hardware - Chrome
• Pickups - H+S • Neck Pickup: Single Coil • Bridge Pickup: Humbucker • Tremolo Type
• Switch - 3 Positions
• Potentiometers - 1x Volume, 1x Tone
• Color - Metallic Black

The E3 MBK Electric Guitar by Flight.

Specs:

• Neck - Maple • Fingerboard - Rosewood • 24 Frets • Hardware - Chrome • Pickups - H+S • Tremolo Type • Switch - 3 Positions • Potentiometers - 1x Volume, 1x Tone • Color - Metallic Black

The Golden Rat is Based on Pro Co RAT Distortion by Demonfx.

Very versatile as a Distortion for arena-rock rhythm tones and soaring Leads.
A Crunch channel for loud Amps.
Or as a boost for solos.
You can still maintain your amplifier's sound at the same time.

Specs :

• Vintage/Boost/turbos witch
• Distortion knob
• Filter knob
• Volume knob
• Fat/Stock Switch Inside
• True Bypass footswitch
• Power Supply DC9V Center negative
• Weight 300g
• Box Dimensions (LxWxH) 12 x 6 x 5 CM

The HP-X Percolator Fuzz by Vaderin is a versatile distortion pedal inspired by the harmonic percolator.

Whether you are searching for a harmonic-rich low gain overdrive distortion or a pedal that can achieve blown out gated fuzz tones, the HP-X is a solid choice for all types of rock music.
The pedal captures the signature even-order overdrive of the original harmonic percolator without compromising stability or volume and has variable input impedance so it sounds great anywhere in your signal chain.

The HP-X sticks to the basics and offers the traditional two controls plus a clipping selection switch.
This pedal is very versatile with a wide variety of tones that range from overdrive to distortion to fuzz with many versions of each in between.
Whatever the settings, the HP-X always sounds aggressive, punchy and has plenty of output.

An A/B’d a ton of silicon transistors to replace the germanium transistor from the original circuit.
The percolator has a silicon transistor instead of a germanium transistor in the PNP position.
Both of the silicon transistors that make up the circuit are measured and carefully selected so the circuit biases right every time.

Left Knob: Harmonic , the left knob is the input level, turn left for less and right for more.
Turning the knob to the right increases the compression, distortion and overall gating of the pedal from nice even=order overdrive to totally squished out gated fuzz.
Adjust this knob to work with the pedal that comes before the percolator if it is later in the chain.
Right Knob: Balance
The right knob is the output volume, turn left for less and right for more.
Both knobs are highly interactive!
There are 3 clipping options on the HP-X with a Switch: • Left: Asymmetrical Germanium Diode Clipping
• Center: Diode lift for all transistor Distortion
• Right: Symmetrical Silicon Diode Clipping
The two diode clipping options were tweaked to have a similar volume output to one another while still retaining their unique clipping characteristics.

The Trails by Poly Effects.
Is an Multi-Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures in True Stereo, Mini Looper and with MIDI ....
Explore sympathetic strings, granular textures, vinyl inspired delays, resonators, modulated vocal modelling, wavefolding and microlooping.
Trails offers 7 easy to control, and inspiring modes in true stereo.
Each mode has their own control parameters as each is a different ecosystem.
Onboard 8 step sequencer can animate all the controls.

Ambient Sounds:
• 0-7: Meadows
• 8-15: Haven
• 16-23: Prairie
• 24-31: Outback
• 32-39: Tundra
• 40-47: Badlands
• 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
1. input jack
2. power input:
Requires 9V DC negative center
power and consumes 500mA.
Do not use more than 9V DC
3. usb (c) input:
Only use small USB f lash drives.
4. midi input + output:
TRS Type A.
Pink = Input,
Green = Output.
More midi details on back page.
5. output jack
6. modes: See details inside this foldout.
7. presets:
8 presets for each mode which are also steps in the sequencer.
8. controls:
Differ for each mode. See details inside this foldout.
9. sequencer play/stop button:
Press to start and stop the sequencer.
10. left footswitch:
• Tap to toggle sustain on/off.
• Hold to go to the next mode.
11. right footswitch:
• Tap to toggle bypass on/off.
• Hold to go to next preset.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

More Infos in the Manual.

The Trails by Poly Effects.
Is an Multi-Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures in True Stereo, Tab Tempo , Mini Looper and with MIDI ....
Explore sympathetic strings, granular textures, vinyl inspired delays, resonators, modulated vocal modelling, wavefolding and microlooping.
Trails offers 7 easy to control, and inspiring modes in true stereo.
Each mode has their own control parameters as each is a different ecosystem.
Onboard 8 step sequencer can animate all the controls.

Ambient Sounds:
• 0-7: Meadows
• 8-15: Haven
• 16-23: Prairie
• 24-31: Outback
• 32-39: Tundra
• 40-47: Badlands
• 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
1. input jack
2. power input:
Requires 9V DC negative center
power and consumes 500mA.
Do not use more than 9V DC
3. usb (c) input:
Only use small USB f lash drives.
4. midi input + output:
TRS Type A.
Pink = Input,
Green = Output.
More midi details on back page.
5. output jack
6. modes: See details inside this foldout.
7. presets:
8 presets for each mode which are also steps in the sequencer.
8. controls:
Differ for each mode. See details inside this foldout.
9. sequencer play/stop button:
Press to start and stop the sequencer.
10. left footswitch:
• Tap to toggle sustain on/off.
• Hold to go to the next mode.
11. right footswitch:
• Tap to toggle bypass on/off.
• Hold to go to next preset.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

More Infos in the Manual.

The Trails by Poly Effects. Is an Multi-Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures ....

Ambient Sounds:
• 0-7: Meadows
• 8-15: Haven
• 16-23: Prairie
• 24-31: Outback
• 32-39: Tundra
• 40-47: Badlands
• 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

More Infos in the Manual.

The Trails by Poly Effects.
Is an Multi-Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures in True Stereo, Mini Looper and with MIDI ....
Explore sympathetic strings, granular textures, vinyl inspired delays, resonators, modulated vocal modelling, wavefolding and microlooping.
Trails offers 7 easy to control, and inspiring modes in true stereo.
Each mode has their own control parameters as each is a different ecosystem.
Onboard 8 step sequencer can animate all the controls.

Ambient Sounds:
• 0-7: Meadows
• 8-15: Haven
• 16-23: Prairie
• 24-31: Outback
• 32-39: Tundra
• 40-47: Badlands
• 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
1. input jack
2. power input:
Requires 9V DC negative center
power and consumes 500mA.
Do not use more than 9V DC
3. usb (c) input:
Only use small USB f lash drives.
4. midi input + output:
TRS Type A.
Pink = Input,
Green = Output.
More midi details on back page.
5. output jack
6. modes: See details inside this foldout.
7. presets:
8 presets for each mode which are also steps in the sequencer.
8. controls:
Differ for each mode. See details inside this foldout.
9. sequencer play/stop button:
Press to start and stop the sequencer.
10. left footswitch:
• Tap to toggle sustain on/off.
• Hold to go to the next mode.
11. right footswitch:
• Tap to toggle bypass on/off.
• Hold to go to next preset.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

More Infos in the Manual.

The Trails by Poly Effects. Is an Multi Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures ....

Ambient Sounds:
• 0-7: Meadows • 8-15: Haven • 16-23: Prairie • 24-31: Outback • 32-39: Tundra • 40-47: Badlands • 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

The Trails by Poly Effects. Is an Multi-Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures ....

Ambient Sounds:
• 0-7: Meadows
• 8-15: Haven
• 16-23: Prairie
• 24-31: Outback
• 32-39: Tundra
• 40-47: Badlands
• 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

More Infos in the Manual.

The Trails by Poly Effects. Is an Multi Effect Ambient Machine with Sustain, Delay, Distortion , Ring-Modulation and Textures ....

Ambient Sounds:
• 0-7: Meadows • 8-15: Haven • 16-23: Prairie • 24-31: Outback • 32-39: Tundra • 40-47: Badlands • 48-55: Coast

Sympathetic Strings Ring in response to what you play. You can tune which notes they resonate with.
Single notes on the higher strings highlight the sarod / sitar like character where strums on lower notes create lush full textures.

Create bell like sounds on each pluck.
This resonator based mode uses your guitar as the excitor to a physical model where you can vary the material the bells are made from.

A vinyl record playing back what you’ve just played. Filled with crackle and character.

A physical model of a human mouth. SustainSwitch: Increase the sustain. Sounds you play come out of the mouth as it opens and shuts. This sounds similar to talk boxes, formant synths and phaser effects.

A pitch shifting delay. You can shift up and down either with the slider or via sending MIDI notes.

A Very brutal distortion in combination of wave folding and Chebyshev wave shaping, is not for gentle warm tones.
It’s great with notes that ring out and slower playing as the sustain is very interesting.
Twisted and heavily eroded, difficult to navigate, the badlands bring an unusual and unexplored type of distortion.

• A microlooper / granular texture generator, that grabs snippets of sounds and then plays them back.
• It’s great for creating full sound scapes from sparse playing.
• To explore the controls, freeze some of audio and then see how the controls interact.
• Grains of sand get between your toes as lapping waves splash in and out.
• Set list : You can easily move between your favourite presets and select the start up preset with the set list feature.
• To set up a custom set list, put a file on a USB flash called set_list.txt
• The default list is 0,8,16,24,32,40,48
• The numbers are the preset you want to go to, counting from zero, separated by commas.
• Tap the ‘Coast’ button 4 times to import.
• Step Ssequencer , pressing the play button toggles the sequencer.
• The sequencer will step though the presets in the current mode.
• To set the MIDI channel, tap the Badlands icon (pictured) four times quickly.
• The preset number buttons will light, press one of these to set a MIDI channel from 1-8.
• Each preset will become a step in the sequence.
• While the sequencer is active, the sustain switch acts as tap tempo.
• Tap 3 times to set tempo.
• Width - 102 mm
• Depth - 112 mm
• Height - 60 mm

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s) • Effects Loop controllable by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and Tone.
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

• Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC
• Input Impedance 1 M ohm
• Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak
• Gain Channel A: 68dB
• Channel B: 100dB
• Tone Control Range Channel A: Treble: 16dB @ 5Hz
• Mid: 8dB @ 700Hz
• Bass: 10dB @ 50Hz
• Mid Boost: 12dB @ 800Hz
• Low Boost: 13dB @ 100Hz
• Channel B: Treble: 16dB @ 2.5kHz
• Mid: 6dB @ 800Hz
• Bass: 22dB @ 150Hz
• Bright: 10dB @ 3kHz
• Mid Boost: 8dB @ 800Hz
• Both Channels Presence: 4dB @ 10kHz
• Effects Send 2.1V RMS @ full power output
• Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet
• Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34
• Power Requirements: 100/115VAC, 50/60Hz, 300VA
• Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s)
• Effects Loop controllable by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and Tone.
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

• Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC
• Input Impedance 1 M ohm
• Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak
• Gain Channel A: 68dB
• Channel B: 100dB
• Tone Control Range Channel A: Treble: 16dB @ 5Hz
• Mid: 8dB @ 700Hz
• Bass: 10dB @ 50Hz
• Mid Boost: 12dB @ 800Hz
• Low Boost: 13dB @ 100Hz
• Channel B: Treble: 16dB @ 2.5kHz
• Mid: 6dB @ 800Hz
• Bass: 22dB @ 150Hz
• Bright: 10dB @ 3kHz
• Mid Boost: 8dB @ 800Hz
• Both Channels Presence: 4dB @ 10kHz
• Effects Send 2.1V RMS @ full power output
• Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet
• Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34
• Power Requirements: 100/115VAC, 50/60Hz, 300VA
• Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s) – controllable
by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and TONE, TONE, TONE!!!
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

• Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC
• Input Impedance 1 M ohm
• Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak
• Gain Channel A: 68dB
• Channel B: 100dB
• Tone Control Range Channel A: Treble: 16dB @ 5Hz
• Mid: 8dB @ 700Hz
• Bass: 10dB @ 50Hz
• Mid Boost: 12dB @ 800Hz
• Low Boost: 13dB @ 100Hz
• Channel B: Treble: 16dB @ 2.5kHz
• Mid: 6dB @ 800Hz
• Bass: 22dB @ 150Hz
• Bright: 10dB @ 3kHz
• Mid Boost: 8dB @ 800Hz
• Both Channels Presence: 4dB @ 10kHz
• Effects Send 2.1V RMS @ full power output
• Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet
• Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34
• Power Requirements: 100/115VAC, 50/60Hz, 300VA
• Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s) • Effects Loop controllable by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and Tone.
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

• Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC
• Input Impedance 1 M ohm
• Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak
• Gain Channel A: 68dB
• Channel B: 100dB
• Tone Control Range Channel A: Treble: 16dB @ 5Hz
• Mid: 8dB @ 700Hz
• Bass: 10dB @ 50Hz
• Mid Boost: 12dB @ 800Hz
• Low Boost: 13dB @ 100Hz
• Channel B: Treble: 16dB @ 2.5kHz
• Mid: 6dB @ 800Hz
• Bass: 22dB @ 150Hz
• Bright: 10dB @ 3kHz
• Mid Boost: 8dB @ 800Hz
• Both Channels Presence: 4dB @ 10kHz
• Effects Send 2.1V RMS @ full power output
• Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet
• Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34
• Power Requirements: 100/115VAC, 50/60Hz, 300VA
• Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s) – controllable
by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and TONE, TONE, TONE!!!
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC Input Impedance 1 M ohm Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak Gain Channel A: 68dB Channel B: 100dB Tone Control Range Channel A: Treble: 16dB @ 5Hz Mid: 8dB @ 700Hz Bass: 10dB @ 50Hz Mid Boost: 12dB @ 800Hz Low Boost: 13dB @ 100Hz Channel B: Treble: 16dB @ 2.5kHz Mid: 6dB @ 800Hz Bass: 22dB @ 150Hz Bright: 10dB @ 3kHz Mid Boost: 8dB @ 800Hz Both Channels Presence: 4dB @ 10kHz Effects Send 2.1V RMS @ full power output Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34 Power Requirements: 100/115VAC, 50/60Hz, 300VA Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s) – controllable
by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and TONE, TONE, TONE!!!
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

• Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC
• Input Impedance 1 M ohm
• Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak
• Gain Channel A: 68dB
• Channel B: 100dB
• Tone Control Range Channel A: Treble: 16dB @ 5Hz
• Mid: 8dB @ 700Hz
• Bass: 10dB @ 50Hz
• Mid Boost: 12dB @ 800Hz
• Low Boost: 13dB @ 100Hz
• Channel B: Treble: 16dB @ 2.5kHz
• Mid: 6dB @ 800Hz
• Bass: 22dB @ 150Hz
• Bright: 10dB @ 3kHz
• Mid Boost: 8dB @ 800Hz
• Both Channels Presence: 4dB @ 10kHz
• Effects Send 2.1V RMS @ full power output
• Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet
• Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34
• Power Requirements: 100/115VAC, 50/60Hz, 300VA
• Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

The VC-6210 Vintage Club 60 2x10 Tube Combo by Crate.

• All tube operation
• Two completely independent channels with individual gain and tone controls
• Channel switching from the front panel or footswitch (supplied)
• Individual reverb return controls for each channel
• Effects Loop for virtually noise-free connection of your favorite effect(s) – controllable
by a footswitch (supplied)
• Specially designed paper bobbin output transformer for a true “vintage” sound
• Specially designed speakers for a distinctive harmonic richness and TONE, TONE, TONE!!!
• Durable tolex® covering and special cosmetic treatments for a unique stage appearance

Specs:

Output Power Rating 60W RMS @ 10% THD, 16 ohm load, 120 VAC Input Impedance 1 M ohm Maximum Signal Accepted 0dB: 1.5V peak to peak; -6dB: 2.8V peak to peak Gain Channel A: 68dB Channel B: 100dB Tone Control Range Channel A: Treble: 16dB @ 5Hz Mid: 8dB @ 700Hz Bass: 10dB @ 50Hz Mid Boost: 12dB @ 800Hz Low Boost: 13dB @ 100Hz Channel B: Treble: 16dB @ 2.5kHz Mid: 6dB @ 800Hz Bass: 22dB @ 150Hz Bright: 10dB @ 3kHz Mid Boost: 8dB @ 800Hz Both Channels Presence: 4dB @ 10kHz Effects Send 2.1V RMS @ full power output Speaker Complement: 10” Crate Vintage 8 ohm, 50W, 1.75” voice coil, 30oz magnet Tube Type Preamp: (1) 12AU7, (4) 12AX7; Power Amp: (2) 6L6GC/EL34 Power Requirements: 100/115VAC, 50/60Hz, 300VA Size and Weight: VC-6210: 24” H x 19” W x 10” D, 52 lbs

Mouse Finger Puppet "George" a present to Ichiko Aoba during a Tour in Paris, She Called the Mouse "George" and does travel with him.

The DS:3 Sampler by Greengate. The Greengate DS:3 is a vintage sampler and keyboard expansion card for the Apple II+ (and compatible systems).

Key facts:

• It was made in the 1980s. • Keyboard with 49 Keys • It is both a keyboard and a sampler card , so it lets you record (sample) sounds and then play them back via keys.
• It has limited polyphony (4‐note) but is multitimbral (can handle multiple samples/instruments) and supports layering of samples across the keyboard.
• The software for it includes features like a waveform editor viewed in oscilloscope style, pattern editing (e.g. arpeggios).
• All run on an Apple II with its basic text/graphics display.

Because so few of these units remain, there was a lot of mystery around how exactly they work:
• Many surviving cards have undocumented chips, or chips with their part numbers sanded off.
• One particular “mystery chip” turned out (via detective work) to be a DMA controller specifically matched to the Motorola MC6844 after pinout analysis.
• Someone (Bea Thurman) had a photo of the board and also the “album” that came with the Greengate, which used the PCB’s top‐layout as part of its artwork (helpful for reconstructing tracks / routing).
• The board has connectors: a DB‐25 via ribbon cable, and a 2×10 connector for the keyboard. Some of these connectors were nonstandard or modified in surviving units.
• Sample audio (cassette etc.) into memory.
• Very limited sample length compared to modern gear.
• Layer multiple samples across keyboard, use multiple timbres.
• Only 4‑voice polyphony.
• Pattern/arpeggio editing etc. for creative composition.
• User interface very basic (Apple II green screen, limited resolution etc.).
• Works with original keyboard hardware (if you can find it and adapt connectors).
• Hard to find parts (keyboard, foot pedals, ribbon cables), and lots of repair / wiring work needed.

The DS:3 Sampler by Greengate. The Greengate DS:3 is a vintage sampler and keyboard expansion card for the Apple II+ (and compatible systems).

Specs:

• It was made in the 1980s. • Keyboard with 49 Keys • It is both a keyboard and a sampler card , so it lets you record (sample) sounds and then play them back via keys.
• It has limited polyphony (4‐note) but is multitimbral (can handle multiple samples/instruments) and supports layering of samples across the keyboard.
• The software for it includes features like a waveform editor viewed in oscilloscope style, pattern editing (e.g. arpeggios).
• All run on an Apple II with its basic text/graphics display.

Because so few of these units remain, there was a lot of mystery around how exactly they work:
• Many surviving cards have undocumented chips, or chips with their part numbers sanded off.
• One particular “mystery chip” turned out (via detective work) to be a DMA controller specifically matched to the Motorola MC6844 after pinout analysis.
• Someone (Bea Thurman) had a photo of the board and also the “album” that came with the Greengate, which used the PCB’s top‐layout as part of its artwork (helpful for reconstructing tracks / routing).
• The board has connectors: a DB‐25 via ribbon cable, and a 2×10 connector for the keyboard. Some of these connectors were nonstandard or modified in surviving units.
• Sample audio (cassette etc.) into memory.
• Very limited sample length compared to modern gear.
• Layer multiple samples across keyboard, use multiple timbres.
• Only 4‑voice polyphony.
• Pattern/arpeggio editing etc. for creative composition.
• User interface very basic (Apple II green screen, limited resolution etc.).
• Works with original keyboard hardware (if you can find it and adapt connectors).
• Hard to find parts (keyboard, foot pedals, ribbon cables), and lots of repair / wiring work needed.

The Soundchaser Computer Music System by Passport Designs Inc.

The Soundchaser Computer Music System (sometimes “SoundChaser,” by Passport Designs) is an early 1980s Apple II‑based music/hardware/software setup.

Developed by Passport Designs, Inc. a pioneering company in computer music founded in 1979.
Released around 1982. It’s a “pre‑MIDI” system for the Apple II (II/II+ etc.).
The system combines hardware (interface & voice cards, soundsynth boards), a keyboard, and software (sequencer, editor, etc.).
Apple II computer (48 KB RAM) + disk drive + monochrome monitor.
Sound‑generation cards (“voice cards”) installed in Apple II expansion slots. Each card provided three voices of sound on each card. Could have multiple voice cards.
Analogue voice circuitry including low‑pass filter (CEM 3320 VCF), VCA (LM3080), etc. For wave shaping, a square‑wave source was generated via Intel 8253 timers.
Four‑octave keyboard, connected via an interface board. Keys encoded via diode matrix, etc.
“EDIT” software allowing setting up voice parameters (VCF, VCA, envelope etc.) with an interactive display.
Sequencer with multi‑event banks to record/playback sequences from the keyboard.
Support for loading presets (“Sound Definitions”), mixing of two oscillators, envelopes (ADSR etc.).
It was rare a niche / enthusiast product.
It was “pre‑MIDI,” i.e. built before the MIDI standard, so interfacing was proprietary in nature.
It was relatively expensive at the time.

Specs:

• 49 Keys
• Voice Cards One or two three‑voice cards can be added. Each voice card provides 3 voices.
• Oscillator / Waveform Source Uses Intel 8253 timer chips (3 timers, one per voice) driven from Apple II’s 2 MHz system clock; square waves created that way.
• Wave Shaper An analog "wave shaper" (ramp generator) to convert square wave to sawtooth waveform.
• Filter & VCA Analogue circuitry: 24 dB / octave low-pass filter (CEM 3320 VCF) and a VCA based on LM3080 transconductance op-amp.
• Envelope / Modulation Software‑drawn “contours” (control over attack, decay, etc.) – 4 contours can be drawn.
• Some modulation functionality via software.
• Sequencer Multi‑event sequencer with 4 independent banks (in base version) for presets & playback/record, sequences from keyboard.
• Turbo‑Traks (optional module/software) Adds up to 16 tracks; variable number of oscillators per voice; extended recording time; sync to tape/drum machine.
• Preset / Instrument Banks Multiple presets loaded; ability to assign oscillators to presets; split keyboard between presets.
• All control changes (patch parameters) are non‑real‑time for many settings , you often need to draw contours or edit via software rather than tweak live while playing.
• Only one oscillator per voice in the base version; no pulse-width modulation (PWM) or sub‑oscillator mixing in the base voice cards.
• Some quantisation noise and limited signal/noise (S/N) ratio; output bandwidth limitations

The DS:3 Sampler by Greengate. The Greengate DS:3 is a vintage sampler and keyboard expansion card for the Apple II+ (and compatible systems).

Key facts:

• It was made in the 1980s. • Keyboard with 49 Keys • It is both a keyboard and a sampler card , so it lets you record (sample) sounds and then play them back via keys.
• It has limited polyphony (4‐note) but is multitimbral (can handle multiple samples/instruments) and supports layering of samples across the keyboard.
• The software for it includes features like a waveform editor viewed in oscilloscope style, pattern editing (e.g. arpeggios).
• All run on an Apple II with its basic text/graphics display.

Because so few of these units remain, there was a lot of mystery around how exactly they work:
• Many surviving cards have undocumented chips, or chips with their part numbers sanded off.
• One particular “mystery chip” turned out (via detective work) to be a DMA controller specifically matched to the Motorola MC6844 after pinout analysis.
• Someone (Bea Thurman) had a photo of the board and also the “album” that came with the Greengate, which used the PCB’s top‐layout as part of its artwork (helpful for reconstructing tracks / routing).
• The board has connectors: a DB‐25 via ribbon cable, and a 2×10 connector for the keyboard. Some of these connectors were nonstandard or modified in surviving units.
• Sample audio (cassette etc.) into memory.
• Very limited sample length compared to modern gear.
• Layer multiple samples across keyboard, use multiple timbres.
• Only 4‑voice polyphony.
• Pattern/arpeggio editing etc. for creative composition.
• User interface very basic (Apple II green screen, limited resolution etc.).
• Works with original keyboard hardware (if you can find it and adapt connectors).
• Hard to find parts (keyboard, foot pedals, ribbon cables), and lots of repair / wiring work needed.

The Now We Are Ghosts Reverb by Alexander Pedals.

Now We Are Ghosts from Alexander Pedals is a unique stereo effect designed for exploring the haunting sounds of warped, degraded reverb tones, adding captivating ambience to any signal.
Shape stereo space to cultivate richly resonant textures that are sculpted by a swelling, modulated filter, and introduce characterful artifacts to impart a sense of nostalgia and decay in every sonic event.
A ghastly follow-up to the ineffable Forget-Me-Not multi-tap delay, Now We Are Ghosts delivers the same hands-on, screen-free experience, providing intuitive control over its versatile effects engine.
Store up to four presets to recall disparate musical memories at will, invoking spectres of sound in every session.
Across the panel controls, Now We Are Ghosts provides a wide range of knobs and switches for dialing in diverse sound worlds.
At the top row, controls for the reverb effect let you adjust Decay time, increase stereo width and intensity with Space, and set an ideal dry/wet balance and output level with Blend and Level controls.
Below this row of reverb controls, numerous knobs allow you to intervene on the reverb effect to sculpt and interrupt its hazy textural mass.
A multimode filter with controls for filter type, frequency, and resonance is on hand, which can be used to create spectral shifts in your reverb tone.
An auto-swell feature lets you create upward or downward swells in reverb amount, creating shifting ambiences that respond to your playing according to the position of the Sense control.
The reverb also features an onboard modulation LFO, adding warble to your sound to invoke lo-fi bliss and adding more modulation for other parameters. The Noise control introduces one of three selectable types of artifacts into the signal path, adding trashy hiss, pops, and hum to your sound.
Finally, the reverb trails can be adjusted between on, off, or auto-fading modes, giving you exacting control over your bypass response.
A deep well of ghastly tones primed for sonic exploration, Now We Are Ghosts is excellent in any application from adding subtle, characterful texture to drastically warped and expressive reverberations.
If you're looking to bring a unique stereo effect to your rig that captures the fragile and delicate sound of otherworldly reverberations, Now We Are Ghosts from Alexander Pedals is one friendly spectre you'll want by your side.

Specs:

• Stereo reverb pedal with modulation, filter, and noise
• Generates expansive reverb that can be sculpted and decayed for unique, otherworldly tones and effects
• Decay adjusts reverb decay time
• Space increases stereo width and reverb intensity
• Blend adjusts dry/wet balance
• Level sets output volume level
• Auto-swell modulation with attack sensitive control and direction settings
• Sense controls auto-swell sensitivity and LFO depth when active
• Rate adjusts auto-swell time and LFO when active
• Reverb modulation warble control
• Noise control adjusts volume of three selectable noise/artifact types
• Dirt adds saturated texture and reverb instability at high settings
• Multi-mode filter with type switch and frequency / resonance controls
• Swell selects destination of LFO or auto-swell modulation to control filter, Blend, or dry feed into reverb
• Selectable trails bypass modes
• Store and recall up to 4 presets
• Swell/tap tempo switch for manual swells and LFO tap tempo
• Mono or stereo input (TRS)
• Mono or stereo output (use either TRS or dual TS)
• Input Impedance: 1M ohms
• Output Impedance: 560 ohms
• DC 9V only, 250mA or greater
• Requires isolated DC power supply
• 5.72” x 4.7” x 1.6” H x W x D not including knobs (145 x 120 x 42mm)

The RX 7 Elements for Audio Repair for Music and Post Production by iZotope.

RX 7 Elements Overview: RX Elements is the perfect introduction into the world of audio repair.
Learn how to use the new Repair Assistant to solve your most common music and post production problems, and more.
RX Elements is the perfect introduction into the world of audio repair.
It features the new Repair Assistant, which automatically finds and removes noise, clipping, clicks, hum, and other problems that can plague your production audio.
In addition to Repair Assistant, you get access to the spectrogram view, allowing you to make precise changes to your audio using industry-leading modules along with helpful selection tools. In this video we use Repair Assistant to tackle post production and music related audio problems.

Standalone audio editor with spectral editing / visualization. B&H Photo Video +2 zZounds +2

Repair Assistant: an intelligent tool that analyzes your audio, detects issues such as noise, clipping, clicks & pops, etc., and offers processing suggestions in three intensity levels (light / medium / aggressive) so you can audition & apply fixes. Four core repair plug‑ins/modules: Voice De‑noise – reduce background noise / hiss / hum etc. De‑clip – recover clipped/distorted audio. De‑click – remove clicks, pops, vinyl‑type artifacts, etc. De‑hum – remove hum, buzz, grounding noise. Other utilities in the editor: fade, gain, stereo/phase controls, normalizing, etc.

Specs:

• Operating systems supported Windows 7, 8, 10
• Mac: OS X 10.8.5 up to macOS 10.13 (“High Sierra”) in some sources.
• Plugin formats AAX (64‑bit) real‑time, VST2 (32 & 64‑bit), VST3 (32 & 64‑bit), AU (32 & 64‑bit), RTAS, AudioSuite etc depending on host.
• Standalone vs DAW support Can run standalone (editor) and as plugins inside DAWs / NLEs.

The Fake Plastic Trees Pre-Amp Pedal by Audio Kitchen.

The London-based Audio Kitchen crafts amplifiers and pedals with unmatched tone and undeniable class case in point, the Fake Plastic Trees.
Homing in on creating faithful tube output tones with JFET transistors, the Fake Plastic Trees presents a new formula for creating Audio Kitchen's rich and refined amplified voices.
The Fake Plastic Trees works wonders on clean signals as it pushes them with a full volume boost from pure and full to fuzzy and overdriven.
Push the pedal to get some bluesy breakup or reel it in for some enhanced articulation, the Fake Plastic Trees works its magic just about anywhere. Specializing in creating organic overdriven tube tones that complement any style, you may just find yourself head over heels for the Fake Plastic Trees before long. Totally, it's a tonal treat.

Specs:

• Type: Preamp
• Power Supply: 9 Volt DC Power Supply
• Ins - Outs: 1 x 1/4" In, 1 x 1/4" Out
• Analog/Digital: Analog
• Battery Connection: None

The G-335S Dreadnought Acoustic Guitar by Goya.

Specs:

• Body Style Dreadnought Acoustic
• Top Solid Spruce
• Finish Gloss Natural
• Back & Sides Rosewood
• Binding Herringbone Binding on Body
• Neck wood Mahogany
• Fretboard Bound Rosewood, 14/20 Frets
• Inlays Pearl “Snowflake / Tree of Life” Inlays
• Number of frets 20 frets total (i.e. up to the body)
• Tuners Gold Hardware • Made in Korea.